Connected approaches, 2011. Detail. installation, Antica Stazione di Posta – Porta Santa Croce, Vicenza
[…] “;This edition of Light Art in Italy 2011 – temporary installations is strongly focused on the artist of light. My choise responds to a need for clarity, but having worked and researched in this fields for years, I am aware of the close relationship and overlap of art and design, and in fact, even in my work at the Polytechic of Milan, I have always promoted active interaction between the two sectors.
The visit to events realized in various cities have enabled me to perceive how the artists intervention’s have the capacity to influence the urban space, enabling them to involve the general public, while meetings with organizers, curators and artists have served me to understand the perception of technical and organizational implications, related to the management of the works of the Light Art.
As with previous editions, I introduce only “temporary” installations, excluding those that are “permanent” realized indoor and outdoor in the urban space, for it is important to focus and keep track of works that otherwise would disappear. Given the known difficulty to riproduce and interpret the works of Light Art only with photographs. I have tried to facilitate the reading by adding a DVD with short duration videos, of the installations, which will accompany the text. The philosophy of my work was to produce a “chronicle” as faithful as possibile, reporting directly to the material and the “concepts” received from artista n curators.
Finally, as regards the selection criteria, I have selected only installations made for museums, foundations, public institution, featuring works by both estabilished artists, as well as works by emergine artists which will hopefully ensure the continuity and evolution of this type of art” […]
Gisella Gellini, January 2012
Paolo Scirpa – Connected approaches, 2011. Installation, Antica Stazione di Posta – Porta Santa Croce, Vicenza
In this installation Scirpa let us enter into a three-dimensional space. The three Ludoscopi, are presented as an architectural trim, placed in the real dimension of the environment, in which a portion is subtracted, to leave a room to the presence of an integrated perspective. The linearity of the luminos structure creates exquisite space artifices in an active, imaginative and playful relationship, with the viewer. The fluorescent tubes are no longer vertical, they do not precipitously plunge toward the center of the ground, but are curved, tend to converge, suggesting the possibility of a statement. The geometric precision of the language is projected on the neon light that radiates with its shape and expands the space around it, while the mirror creates an endless perspective, and an optical illusion, matrix of all of our dreams. The sense of joy of these realizations, which welcomes a faithful approach, is given to us by the pleasure of the artist to create and to build, from his existential vision.